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- “Gabriellas sång” by Brahms?
- Rachmaninoff’s Paganini Rhapsody and the treasures in the Library of Congress
- No end to Rachmaninoff in sight: several annotations to opp. 3 and 16
- Something new from the low register: At long last, Koussevitzky’s Double Bass Concerto op. 3 in Urtext
- On the first version of Verdi’s string quartet – interview with Anselm Gerhard
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Author Archives: Dominik Rahmer
‘Servant of two masters’ – when the editor is caught between two composers
The basic idea behind an Urtext edition is well known; … Continue reading
A wrong ‘D’ goes out into the world – Rachmaninoff’s Prélude in c sharp minor under the magnifying glass
The last blog posting on 6 January has already let … Continue reading
“Hark, Hark! The Joy Inspiring Horn” – Discoveries in Schumann’s Konzertstück, Opus 86
For pianists and string players, especially, the name Henle stands … Continue reading
“Liebestod” revisited – yet more problems in Franz Liszt’s transcription of Wagner
Some time ago we had previously devoted a blog post … Continue reading
Wagner, Liszt, and Isolde ‘slurred’– how well do composers proofread their own works?
The current Wagner year is also not going unnoticed at … Continue reading
Brahms’s ‘Hungarian Dances’ – new finds in old sources
In 2011 the Brahms researcher Michael Struck made a striking … Continue reading
Posted in articulation, Brahms, Johannes, Hungarian Dances (Brahms), Monday Postings, notation, piano solo
Tagged Brahms, interpretation, notation, piano
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Setting, version, arrangement – how far may Urtext go?
It is part and parcel of the idea of a … Continue reading
‘Play it again’ – is a repeat sign missing in Brahms’ Paganini Variations?
Some time ago we received an interesting query from a … Continue reading
Posted in autograph, Brahms, Johannes, first edition, Monday Postings, notation, Paganini Variations op. 35 (Brahms), piano solo
Tagged Brahms, notation, Paganini, piano, repeat, variation
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Debussy: to finger or not to finger…? Why we are adding fingering in the “Études”
In summer 1915 in the solitude of Pourville, the small … Continue reading
Posted in Debussy, Claude, Douze Études (Debussy), Monday Postings, piano solo, Urtext
Tagged Chopin, Couperin, Debussy, Études, fingering, piano, Rameau
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How the (cradle) song ends: what is the final tone of Fauré’s Berceuse?
Gabriel Fauré’s Berceuse op. 16, a captivating miniature for violin … Continue reading
Posted in Berceuse op. 16 (Fauré), Fauré, Gabriel, first edition, Monday Postings, notation, piano + violin
Tagged Berceuse, Fauré, harmonics, notation, variants
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